Bernd Jestram and Ronald Lippok sit in their recording studio located in the heart of their city and turn the knobs, press the buttons, and shift the regulators until they find a sound, or until a sound finds its way to them. A rhythm, a melody, a noise. For Spider Smile, Tarwater have found pop music: they, the electro duo, each of them with his roots in East Berlin's subculture and avant garde. The sun that rises and sets again and again in "Arkestra" shines for everyone at another place, originating from a joint bus trip with members of Sun Ra Arkestra through the hilly landscape of Scotland. America -- or rather, different ideas of what America is like -- is its essential motif. "Shirley Temple" that marks the beginning, is a clouded electro-overture. The recording studio is Bernd Jestram's and Ronald Lippok's favorite instrument, but still, a number of analog instruments landed up in front of the microphones. A harmonica, for example. And with it the blues. It changes "Witchpark" into a dark dub-landscape. Guitars send several songs on their way -- like the pushing "World of Things to Touch." Violins are plucked distinctly in other songs, an oboe spreads melancholy patina. Later, there is repetition and modification, song- and soundwriting from the spirit of modulation -- a central motif within the music of Tarwater. The album's Virgin Prunes cover makes its way through an echo-chamber. "Home is where the heart is," a line that sums up the entire album very well.